I’m a movement Nazi. It used to be my way before. Now, in the last three projects. I found a way to let the actors find their comfort and still find the precision in the show. It’s a change in me.
GUILLERMO DEL TOROI think damage to the eye or damage to the teeth is one of the most universally cringing things you can do in a movie and these are very fragile sounds.
More Guillermo del Toro Quotes
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As a first-time director, you cannot have final cut. But as a producer, you can have final cut.
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You think if you work hard enough, you can fix the precious things you’ve broken – rather than being careful with them in the first place.
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I’m the freaky version of that superhero who says, wherever there is injustice, I shall be there. Whenever there is a difficult project, I’d like to be there.
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Its a bit cloudy in London but people are already drinking out on the streets- God Bless the pubs.
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We’re in three living groups, ’cause even after the world’s ended some assholes still can’t get along.
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I think damage to the eye or damage to the teeth is one of the most universally cringing things you can do in a movie and these are very fragile sounds.
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Ghosts are a metaphor that can be interpreted so many different ways. There’s no ending to what you can do. You can make it a fun ghost story. You can make it a deeply disturbing, psychological ghost story.
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You can always go back to not making any money, and then you get the freedom. And I’m going to continue doing it, because it really is a fantastic sense of liberation.
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There is beautiful in the grotesque.
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You can’t explain success in retrospect. The moment you leap into the void, that moment is impossible to negate, after success.
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I think making small movies reminds you of the effort. When you make big movies, the effort is to fight for freedom. When you make small movies, the effort is making the day, making the budget, and it’s great, too.
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I like John Carpenter. I like some of his films more than others
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But I think we are seeing a resurgence of the graphic ghost story like The Others, Devil’s Backbone and The Sixth Sense. It is a return to more gothic atmospheric ghost storytelling.
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I really wanted the house to be a character. And I knew, I said, I’ll produce that one, but if I direct it, I need to build a house.
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I think once a Catholic, always a Catholic. You never escape. I still have Catholic guilt. It is in its basis a really powerful religion and a really strong set of beliefs. They permeate my work in many ways.
GUILLERMO DEL TORO